Atomic Blonde

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Convoluted, paranoia-inspiring, and extremely violent, Atomic Blonde feels like what a Bond film would be if the brutality of 2006’s Casino Royale met the conflicted and complicated world of *actual* spy fiction.

Actually, that’s a better description of the movie than I’d thought it would be. Atomic Blonde is full of gorgeously choreographed and grimly performed fight scenes (as one might expect from David Leitch, director of John Wick), and it is definitely not a film intended for a passive or unthinking audience. The underlying story is twisty, and nearly every person’s loyalty is deeply questionable, enough so that I spent a good portion of the movie not sure who was on which side; perfect, really, for this sort of spy movie. Not so good if you’re watching this thinking that you’ll have a neatly packaged Bond-esque film, but quite possibly more fun because of that.

I kind of wish that there’d been a little more in the way of clues for me to catch throughout the movie, or that I’d put together the ones that were there faster. If I had, I wouldn’t have been quite as confused in the end. But when I reflect on it, everything holds together, and I only have a deeper appreciation for what’s there.

I won’t give you any spoilers (apart from saying that if you can’t handle visceral uncomfortable violence, you probably shouldn’t watch this movie), but I will say that I rather liked Atomic Blonde. It wasn’t exactly what I’d expected, and I’m glad that it wasn’t. While I’d happily watch Charlize Theron play Bond in some sly, neatly packaged, thoroughly sanitized version of what current American moviegoers have come to think of as “a spy-action movie,” the gnawing distrust and complicated loyalties of Atomic Blonde deliver an excellent spy movie experience, and a better one than I’d thought I’d find.

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